A Chorus Line at Sadler’s Wells – review

Though aspects of A Chorus Line have glaringly dated nearly 50 years since it first blazed a trail down Broadway, it’s a show that retains an innate understanding of theatricality and spectacle, aspects which are brought to the fore in Nikolai Foster’s fine revival, which was first seen at Leicester Curve in 2021.

Performed on Grace Smart’s almost Brechtian design, a number of standalone mirrors arranged across the back of a largely bare stage, aesthetically it feels more true to the real environment of a rehearsal room. It’s here that Adam Cooper’s director Zach holds court as he takes the hopefuls through their steps, all hoping to become a singular sensation. They’re filmed in close-up and projected on the back wall; their every move is scrutinised by his faintly sinister presence.

The storied origins of the show describe how it was based on recordings with actual chorus members (several of whom went on to star in Michael Bennett’s original production). Watching it now, in an age where documentary theatre is commonplace, it feels altogether more contrived, as the dancers speak about their humble origins and love of the biz.

But there’s no doubting the enduring power of Marvin Hamlisch’s score, with standouts including “At the Ballet’, “What I Did for Love”, and of course “One”. These are all superbly delivered by an engaging ensemble on top form, who shine particularly in group numbers such as the stunning opener “I Hope I Get It” and “Gimme the Ball” (in which the excellent band briefly appear), all electrically choreographed by Ellen Kane and blazingly lit by Howard Hudson.

A few of Edward Kleban’s lyrics don’t quite land in the way they might have in the 1970s; notably when Mark (Archie Durrant) sings about his pubescent younger self mistaking ejaculation with gonorrhea, or when Chloe Saunders’ Val hymns to the importance of enhancing your “t*ts and ass”. But at the same time, it’s commendable that Foster has elected to retain these rather than attempt a clumsy updating, perhaps explaining his decision to nod heavily to the show’s 70s roots (in his silky shirt and brown flares, Cooper looks like he’s stepped off the set of Boogie Nights).

It’s certainly interesting to watch A Chorus Line in the wake of the Me Too movement and the resultant awareness of the importance of safeguarding. The power dynamic between Cassie (movingly portrayed by Carly Mercedes Dyer) and Zach hinges on his problematic assertion that she is worth more than the other auditionees. I was also struck by seeing it at the same time as the Paris Olympics, given the clear parallels drawn between professional dancers and sportspeople (one chorus member even says, “we’re no better than athletes”). Both tend to have short careers, and injury – as shown poignantly here – can have devastating consequences.

But perhaps the best way to watch it is to park the politics and sit back to enjoy the spectacle. The broad Sadler’s stage is the ideal place to see it, including a particularly arresting moment when former Swan Lake (and Billy Elliot) star Cooper echoes his formative years in the spotlight, while the golden finale is nothing short of breathtaking.